Freya Arde has long been a name synonymous with evocative, cinematic compositions, having scored films such as The Hidden Life of Trees and The Flying Classroom. Now, the Berlin-based composer is stepping into a new chapter with E C H O, her first full-length album of original compositions separate from the world of film.
Released on February 7, 2025, E C H O is a collection of nine instrumental pieces that blend electric guitar, intricate string arrangements, and ethereal vocal elements into a deeply atmospheric listening experience. The album explores themes of resonance, connection, and self-reflection, offering a more personal glimpse into Freya’s artistry.
We sat down with Freya Arde to discuss her creative journey, her transition from film scoring to independent composition, and what’s next as she prepares for her record release tour.
Interview with Freya Arde
Freya: Actually, writing music without picture is how I began as a composer, so it feels natural to go back to my roots.
The big difference is that film scores require following the dramaturgy and characters of the film—the music is only one aspect of the sonic spectrum contributing to the story.
Sometimes I‘ve missed being free in my work, and writing my album E C H O has allowed me to write in a way that is true to myself without any compromises.
Freya: First, I had a couple of sketches that I had recorded with my electric guitar. At first, I thought about releasing the tracks as an EP, but I wasn’t quite sure if it would be enough material, and I was hesitant to release it as an album because I originally started as a classical guitarist. But I finally decided to make a go of it.
The strings are a color I often hear in my head, so it was no question to me to add strings. It’s one of my favorite instrumentations, and it was fun to work with my longtime friends and musicians Alina Gropper, Filip Sommer, and Benjamin Arnold as a string trio.
Freya: Yes, it really is about connection. We live in a time and world that makes it harder for us to connect. Everyone’s on their phones, and the world is designed for us to be consumers, which drifts us further apart from each other. To me, E C H O means listening to yourself and to one another—being aware of each other.
Freya: I didn’t think of any stories while writing E C H O, but I found it very interesting to create a dramaturgy. For instance, deciding where to place the piano pieces or how to build an arc that makes sense throughout the album. Rather than pushing my own interpretation onto listeners, I find it interesting what stories are evoked in people’s minds when they listen to the record.
Freya: I wrote Ghost Waltz when I felt very empty and kind of burnt out. There’s a lot of longing in the piece. The reverb of the guitars also inspired the name, since it has a very eerie sound.
The original idea for Papership Sailing was “Pachelbel’s Garden” because it builds up like Pachelbel’s Canon, but I thought this title would be too academic. Instead, I tried to find a symbol for how the piece feels to me.
Freya: I always thought my first album would be an acoustic guitar album, but somehow the electric guitar became my main instrument in the last few years. So I suppose, Moon Window was already a foreshadowing of E C H O. There are still so many sounds to explore on the electric guitar palette, but I think my next focus will go back to more acoustic instrumentation again.
Freya: We just played our live tour, and it was amazing to perform with such excellent musicians like Yara Abou Fakher, Filip Sommer, and Benjamin Arnold.
They make so much of the sound of E C H O, and I really wanted to bring that to life on stage with them. Playing live is wonderful and frightful at the same time—it really forces you to be present in the moment.
Freya: I produced E C H O myself, but I worked very closely with Samuel Schwenk, who mixed the album and helped me shape the electric guitar sound.
My friends Alina Gropper, Filip Sommer, and Benjamin Arnold played the string trio parts. On the visual side, I had a lot of advice from my close friend Sandra Winkelmann, who did everything from videos to the vinyl design. I also worked with the phenomenal French photographer Anne-Laure Etienne, who shot polaroids in the beautiful landscape of Ardèche—perfectly capturing the analog warmth of the music in a visual way.
Freya: Thank you so much! No, I don’t necessarily have visuals in my mind while composing. Most of the ideas just appear in my head. Sometimes, the spark for a composition comes from a situation. One of the most peaceful pieces, A Few Seconds, came to me after nearly having a car crash with my partner. Writing a piece is finding closure in a thought or an experience.
Freya: Right now, I’m immersed in new scoring work, but I can’t wait to record new original music.
Echoing into the Future
With E C H O, Freya Arde offers an album that is both deeply personal and universally resonant. Blending poetic minimalism, cinematic textures, and rich instrumentation, she has created a work that invites listeners into a space of introspection and connection.
As she embarks on her record release tour, fans can experience the magic of E C H O live, performed alongside the talented musicians who helped shape its sound.
For more updates, follow Freya Arde on social media and streaming platforms.
Step into the world of E C H O—an album that lingers like a memory, resonates like a dream and connects like an echo.
